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Holy Motors (2012)

Not Rated  |   |  Drama  |  4 July 2012 (France)
7.1
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Ratings: 7.1/10 from 25,207 users   Metascore: 84/100
Reviews: 101 user | 321 critic | 34 from Metacritic.com

From dawn to dusk, a few hours in the shadowy life of a mystic man named Monsieur Oscar.

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Cast

Cast overview, first billed only:
...
Mr. Oscar / Le Banquier / La Mendiante / L'O.S de la Motion Capture / M. Merde / Le Père / L'Accordéoniste / Le Tueur / Le Tué / Le Mourant / L'Homme au Foyer
...
Céline (as Édith Scob)
...
Kay M
...
Eva Grace (Jean)
Elise Lhomeau ...
Léa (Élise)
Jeanne Disson ...
Angèle
...
L'Homme à la tache de vin
...
Le Dormeur / Voix Limousine (as LC)
Nastya Golubeva Carax ...
Reda Oumouzoune ...
L'Acrobate Mocap
Zlata ...
La Cyber-Femme
Geoffrey Carey ...
Le Photographe / Voix Limousine
...
L'assistante photographe
Elise Caron
Corinne Yam
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Storyline

From dawn to dusk, a few hours in the shadowy life of a mystic man named Monsieur Oscar.

Plot Summary | Add Synopsis

Genres:

Drama

Certificate:

Not Rated | See all certifications »

Parents Guide:

 »
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Details

Official Sites:

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Country:

|

Language:

| |

Release Date:

4 July 2012 (France)  »

Also Known As:

Sveti motori  »

Company Credits

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Technical Specs

Runtime:

Sound Mix:

Aspect Ratio:

1.85 : 1
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Did You Know?

Trivia

Edith Scob, who plays chauffeur Céline, starred in the French horror classic Eyes Without a Face (1960), by director Georges Franju. Franju's cinema is the object of several homages throughout 'Holy Motors'. The mask that Céline puts on by the end of the film is a direct reference to 'Les yeux sans visage'. See more »

Quotes

Mr. Oscar: Céline, we have to laugh before midnight.
Céline: We'll do our best, Mr. Oscar.
Mr. Oscar: Who knows if we'll laugh in the next life.
See more »

Crazy Credits

"Katya, for you" with a picture of Yekaterina Golubeva during the closing credits. See more »

Connections

References Tokyo! (2008) See more »

Soundtracks

Can't Get You Out of My Head
Performed by Kylie Minogue
Written by Cathy Dennis and Rob Davis
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User Reviews

 
Meaningless ideas presented incoherently in an "artful" film
17 February 2013 | by (Ontario, Canada) – See all my reviews

"Holy Motors" begins with Monsieur Oscar (Denis Levant), a middle-aged Parisian man, in the back of a functionally tricked-out limousine. His assistant/driver hands him a folder, the first of today's jobs, and he begins to transform himself into an old woman. Out on the street, Oscar passes himself off as a poor, begging, old woman, conning the passers- by. But is it really a con if he doesn't get any money?

That is just one of many questions that can go through one's head as you attempt to follow this film. And just one of the many unanswered questions that becomes increasingly frustrating the further you get through this film. "Holy Motors" has been described as a day in the life of a con-man. Too bad he's not a con-man. The second and third segments, involving Oscar in a luminescent, body movement/sexual performance and then infiltrating a model's photo-shoot as a crazy man, make it clear that Oscar is in fact a street performer/actor/hit-man. But apparently only those who like and "get" this film will see how he's an actor. That's the type of pretentiousness this film promotes.

Each segment is unrelated, connected only by Oscar transforming himself for his next job in the back of his limousine; which makes the majority of the film completely pointless. At one point, we are supposed to care for Oscar (who knows when that connection occurred) because one segment features Oscar with a similar street performer/actor, presumably a former love interest. In this segment they sing a song called "Who Were We When We Were Who We Were?" I think that type of verbose nonsense speaks for itself.

The make-up work actually was quite phenomenal; visually, Oscar was truly a different person in each segment. Story-wise, Oscar was a different person in each segment, which makes the film extremely non-cohesive. At the end, the film pretends that they presented ideas about the future of society, the isolated nature of individuals, and the life of an actor, but there wasn't a single coherent idea in that film. It was all very meaningless.


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